lowdown

As a working musician, having good relative pitch is more useful. To identify the intervals on the fly is what makes for good busking, along with retaining chord structures in your head. If you have that together, you can busk most working situations. Plus, if you can remember most of the classic & standard Bass lines, you are tailor made for stress free depping. Over the years, finding good readers to dep has mostly not been a problem, but trying to get players to walk in and cover a gig without a pad on the night, or even in advance has been sometimes, less successful. If you do both (read & busk), even better.

I really like some of Marcus' early slap stuff, right on it groove wise and very clean. He has great time and musical with his note choice.

I'm not sure that part is quite right (Well, the Bass isn't). I suppose because of the lack of 'E' in that first chord it could just as easily be 'Dsus4/A Bass or, of course, A7sus4 (omit 5). The Bass doesn't play the first down beat of the Bar, so their is no F# Bass in the chord. The second bar there is an F# Bass in the chord. On the PDF sketch score below, from bar 23 onwards, the Guitar parts will explain more what is going on chord wise. Certainly a lot of F# against G happening within the chord(s), along with some lines consisting of 4th's. Quite clever really. This is why @blisters on my fingers isn't hearing a root note (only inversions). Because, maybe there isn't any root note. It's in the Key of D (2 sharps for sure). Plus, I can't here a 'B' note anywhere in the Bass, as in that chart above? I have attached a full PDF sketch score below (from years ago). It's not properly formatted, rests missing, wrong drum notation heads and all in concert etc. But this may help. One In A Lifetime.pdf Plus here is the two bar Bass line (it just sounds like a loop all the way through).

I did both in my early teens, practising technique and using my ears. It just seemed like a natural thing to do and went hand in hand for me. Learning theory early on, was relatively easy, because I was enthusiastic and keen when I was Thirteen...Plus, it was a way into the school Orchestra, which was jam packed with girls.

When he first appeared in the mid 80's, I think it was was one of those mouth open moments for a lot of musicians (his Guitar was tuned in 4th's all away across as well, IIRC). The late, great, Wayne Braithwaite was on Bass on a couple of tracks on the 'Magic Touch' album. That album was also #1 for about a year in the Jazz albums in the States.

More AWB - The groove builds all the way through. Great tune as well.

I've been using Cubase since before it was invented... If you do decide to go down the Cubase route, I would consider NickD's advice above. The UR 22 (and the mk11) are excellent. Also drivers for the device are updated regularly, quite often after a big windows update as well. For the DAW software, the upgrade path is pretty decent as well. It's a shame really, because Steinberg had a big 50% sale on all software recently (70% for Nuendo 8). It only ended a couple of weeks ago.

Plenty should get this easily, it's certainly the right day for fighting over it... Michael Barrymore would give it a thumbs up.

Defiantly... If not, get Animal in on the gig. He'll nail it.

Yeah, I agree about the cross string approach, and also when slowed down you can pick out those open notes.

Not my transcription below, but worth showing the Drummer. It sounds like he is counting the first note of the Bass solo as one, when in fact, it starts on the upbeat of one. I have had the misfortune of depping in a band when the runaway train was doing something similar by the sound of your story. The guy who transcribed the below chart has written up a little brief on how to nail it accurately.

Not Mare Fingle then?

Pure chance that I was in the Bike Shed Motor Cycle Club (Hackney) a few days ago.

Howdy partners, I'm Daytona Bike Shed. All bikes are welcome to come in and be serviced by my very helpful staff. Free Lubrication provided and any burnt, or worn out rubber replaced at no extra cost (maximum of three). 👍

'Fever' by Peggy Lee (with Joe Mondragon playing a mesmerising Bass line).

Marcus Miller.

Pete mentioned above about checking out Gary Karr (highly recommended) Somewhere on YouTube there is a video of him in his front room playing the Rachmaninoff piece, 'Vocalise'. I think it's the last of the romances he composed (14 in all). It's stunning. Very moving the way he plays it on the Bass. I believe he was 73/74 when he played it and still had his chops together. A couple of wobbly bits, but a lovely sentimental performance.

Yeah, he is a pretty special player. Beautiful tone as well. I noticed that there is a notation PDF download as well for the pieces. Another terrific solo player to check out is Renaud Garcia-Fons. A piece called, Palermo, is particularly nice. He also plays some lovely Flamenco Bass, along with guesting in a few Ethnic style duos and trios.

1968 'Wet Dream' - Max Romeo. Romeo claimed that it was about a leaky roof. Make your own mind up. https://genius.com/Max-romeo-wet-dream-lyrics

I didn't click on anything, I was just letting folks know what happens if you clicked on the icons. People were talking about the site in question a couple of weeks back on Facebook. That's where I got the heads up. IIRC, the photos kept changing or vanishing as well.

Clicking on the social media icons (top right), takes you to your own social media sites...

Did the keyboard player use Bass pedals?

What about a Surbahar...(Bass Sitar) ? https://chandrakantha.com/articles/indian_music/surbahar.html

An interesting little read here about how the games industry has helped the music industry. https://www.theguardian.com/games/2018/aug/22/video-games-music-industry